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More from The Badlander...

Here's a page from the Dead Rider.

Yes, the background and pen and ink drawn frame is going to be on every page. I did this to unify all the pages, many of which have various different techniques on it that are pretty wide apart, stylistically. And also because I wanted to have a mid value behind everything which would let the panels have both the darkest and the lightest values on the pages - so I can do more with lighting effects and such (like the bright sun here) Also the mid value backdrop allows me to control where the starkest contrasts appear (effect areas) in each panel so I can better direct the reader's attention to the essential dramatic point of each moment. And also, of course, the sepia color recalls the dusty landscape out west and all that.

I'm doing all the lettering and balloons too and they are all stylized and color coded according to who is speaking and they add more color and pop where now there is a lot of the sepia tone. I did the Dead Rider logo too. (Yeah, you guessed it, I'm a graphic designer in another life. I'm in the process of converting from The Deadlander (which Legal has asked me to forgo) which was converted from the Badlander (which Legal has asked me to forgo) to Dead Rider. )

By the way, I drew only one side of the pen and ink frame and duplicated the other side in photoshop. The texture of the sepia tone is an old piece of construction paper scanned in. Maybe that's obvious. Anyway...

More Pen & Ink...

Here's more illos from the Deadlander, I think both are ink and brush rather than pen. The first is from issue 1, page 13 of so. The second is the frontispiece/inside front cover for the whole series. Next time I see Berni, I owe him five bucks!

Eyeballs welcome...

Here's a WIP from a sorta experimental sequence from The Dead Rider issue 3. The main character Jacob runs into a coffinmaker's shop to hide from the Cavalry. As he enters, the art turns from fully inked to just pencilled (see panel 1) until he busts out.

I was all ready to ink the pages as usual until I was struck with the notion that they were fine the way they are and would make the sequence more interesting and moody as just shadowy pencils. Also I decided I would ruin them if I tried to achieve the same effects using pen, brush and ink linework.

I dropped a multi-colored texture over the whole indoor sequence and in the nebulous areas of the panels where detail gets lost you can see pink and blue and green blotches, which is a sort of colorful way of representing what your eyes might see when you can't make anything out in near-darkness.